Latin Verse Satire

by Miller, Paul Allen

  1–5. Horace meets the comic poet Fundanius and asks him to give an account of a recent dinner chez Nasidienus. Nasidienus has not been identified and is generally thought to represent a type rather than a specific individual.

  1–3. Beati = “rich,” but also “happy.” The first is true, but the second is not.

  Mihi quaerenti convivam: Horace was himself inviting Fundanius to a dinner that would presumably have more resembled the humble fare in 2.6 than the ostentation described below.

  De medio … die: normal Roman dinner parties began in the ninth hour, around three o’clock. This was to be more elaborate and by implication excessive.

  Potare: nor was it a sober affair in any sense of the word.

  3–4. Fundanius’s sarcasm sets the tone from the beginning.

  5. Esca = “delicacies, mignardises.”

  6–17. Fundanius describes the first courses. Pater cenae: an ironic honorific.

  Rapula = “baby turnips.”

  Lactucae = “lettuces.”

  Radices = “radishes.”

  Pervellunt = “goad, stimulate.”

  Siser = a plant with a pungent edible root, generally identified with the skirret, but some argue for the parsnip.

  Allec = “fish-pickle,” actually the brine in which salted fish had been kept.

  Faecula Coa = “dried lees of Coan wine.”

  10–15. Ubi introduces pertersit and sublegit. Pertersit < pertergeo, –ere, –tersi, –tersum: “wipe.”

  Cinctus alte see succinctus 2.6.107.

  Gausape < gausape, –is: a long napped woolen cloth, a towel. This clause is a virtual quotation of Lucilius 570.

  Ut Attica virgo / cum sacris Cereris: a slave who brings in the wine with ridiculous solemnity is compared to a maiden in an Athenian religious procession. The Eleusinian mysteries for Demeter (Roman Ceres) featured a kanephoros who carried sacred symbols (sacris) in a basket balanced on her head.

  Hydaspes = a slave from India. His name indicates his origin from the region near the river of the same name. Having such an exotic slave would be a mark of luxury.

  Caecuba = one of the most valued Italian wines.

  Alcon: a slave with a Greek name brings in the Greek wine.

  Maris expers: Chian wine was often mixed with a bit of seawater. Nasidienus’s vintage needs no such adulteration.

  16–17. Nasidienus tries to impress his guests by offering two other vintages in addition to those served with such pomp. It is only here that we find out that Maecenas was present [64]. He remains carefully distanced from the ensuing buffoonery. Albanum … Falernum: two fine Italian wines.

  Appositis = ablative of comparison. Understand vinis.

  18–41. Now that Maecenas’s presence has been revealed, Horace inquires into the identity of the other guests. Fundanius complies and describes the seating arrangements.

  18–19. Divitias miseras: a wonderfully ambiguous phrase. Does it refer to Nasidienus, whose riches bring him no real pleasure and contentment, hence he is miser, or to the guests, in whom the excessive nature of the display inspires disgust not wonder?

  Quis = quibus.

  Pulchre fuerit tibi = “you enjoyed yourself?”

  20–4. The guests at a Roman dinner party reclined on couches (lecti) that surrounded the table on three sides. The fourth side was left open for serving. See 1.4.86–9. The diagram illustrates the arrangement of the guests.

  The position at the left end of each couch, facing the table, was called the summus. Infra and super refer to this designation. The most distinguished guests were placed on the medius lectus. Maecenas occupies the place of honor, known as the locus consularis. It would normally be immediately next to the position of the host on the imus lectus, but Nasidienus has put Nomentanus next to Maecenas so that he can instruct him concerning the food. This is a faux pas and reveals the host’s lack of tact. The summus lectus is occupied by men of letters from Maecenas’s circle.

  Viscus Thurinus: one of the brothers mentioned at 1.10.83.

  Varius: see 1.5.40 and 1.10.44.

  Cum Servilio Balatrone Vibidius: these were Maecenas’s umbrae (additional guests brought by those who were actually invited). From their names and behaviors, we gather that these were Maecenas’s scurrae or lower-class wits expected to entertain the guests (1.4.86–9). Balatro means “jester” (1.2.2) and is a fictional name that complements the implications of Servilius. Vibidius is unknown.

  Nomentanus is sometimes distinguished from the spendthrift mentioned at 2.1.22, but there seems no compelling reason to do so. He, like Porcius, is a scurra of Nasidienus. Porcius (“Piggy”) is another speaking name.

  Ipsum = colloquial for dominum.

  Totas simul = “all at once.”

  Placentas < placenta, –ae: “cake.”

  25–6. Lateret < lateo, –ere: “to lie hidden, to escape the notice.”

  26–30. The uninitiated (cetera turba) required Nomentanus’s instruction because of the unusual nature (longe dissimilem noto celantia sucum) of the dishes. This passage is difficult and its exact translation is disputed, although the general sense is clear.

  Conchylia = “shell-fish.”

  Ut vel continuo patuit cum = “as for example became evident at once when.”

  Passeris < passer, –eris: a flat fish like a flounder.

  Ilia is used only here of fish. Some translate “loins” (Muecke 1997), others “roe” (Morris 1968). Inasmuch as the usage is unusual, we can presume so is the dish (it has not been tasted “ingustata”). I follow Rolfe (1962) and translate “entrails.”

  Rhombi < rhombus, –i: “turbot.”

  31–3. Nomentanus passes on more esoteric knowledge. Melimela = “honey apples,” a quick-ripening variety with a sweet taste. Apples would not have normally been served until dessert. Nomentanus is just showing off the extent of his epicurean training, as the second clause makes clear.

  Minorem = “waning.”

  32. Hoc refers to the entirety of the previous clause.

  Ipso = Nomentano.

  33–5. “We’ll die unavenged unless we drink heavily!” The language is a parody of epic.

  35–8. Nasidienus turns pale, fearing either bad behavior or palates dulled from drink. Parochi = “our caterer,” compare 1.5.46. The term is contemptuous.

  39–41. Allifanis < Allifana, –orum: large drink vessels in the style of those from the town of Allifae.

  Vinaria = “jugs.”

  Lagoenis < lagoena, –ae: “a large earthenware jar with a narrow neck and handles.”

  42–53. The climax of the dinner is the serving of a pregnant (gravida) lamprey eel. Murenae were widely believed in the ancient world to mate with vipers (Athenaeus 7.312e; Pliny the Elder Historia Naturalis 9.23; Cruquius 1597; Lejay 1966). Thus Nasidienus’s pièce de résistance was not simply grotesque but, to a Roman audience, potentially dangerous. It is served in trompe l’oeil fashion swimming in pepper sauce surrounded by shrimp (squillas). Erus = Nasidienus.

  Carne = ablative of specification.

  45–50. The recipe for the sauce (ius). Prima Venafri pressit cella = an elaborate periphrasis for “Virgin olive oil from Venafrum.” Venafrum was famed for the quality of its olives.

  Garo < garum, –i: Romans loved this sauce made from liquid strained from boiled fish entrails, salted then fermented. Numerous recipes have been found. Pliny (Historia Naturalis 31.93–4) confirms the best comes from Spanish mackerel.

  Citra mare nato = another elaborate periphrasis for “domestic.”

  Dum coquitur: the wine is added during the actual cooking. Chian is added to a sauce that is already cooked (cocto).

  Aceto < acetum, –i: “vinegar.”

  Methymnaeam … uvam = “the Methymnaean grape cluster,” i.e. Lesbian wine, considered among the finest.

  Vitio mutaverit = another elaborate periphrasis, this time for “fermented.”

  51–3. Nasidienus details his own specific culinary innovation. Erucas = “arugula,” a va
riety of pungent salad greens.

  Inulas = “elecampane,” a hardy perennial.

  Incoquere = “to cook into [the sauce].”

  Curtillus = another gastronome who showed how to cook unwashed sea urchins (illutos … echinos) in the sauce. Nasidienus cites a fellow researcher in the culinary arts to demonstrate his scholarly bona fides.

  Muria = “brine,” that is to say the commercial product, not that naturally emitted by the sea urchins’ unwashed shells.

  Testa = “the shell” of the sea urchin.

  54–6. Disaster strikes! The fall of the tapestries (aulaea) is a turning point in the satire introduced with epic language and mock grandeur. It destroys the platter (patinam) on which the lamprey was served. Note the epic simile introduced by quantum non.

  57–9. While the guests in Maecenas’s circle react sensibly when it becomes clear that the danger has passed, Nasidienus weeps as if he has lost a son. Flere = historical infinitive, giving the passage a mock epic coloring.

  59–63. Nomentanus, in an effort to comfort Nasidienus, launches into a threnody bemoaning Fortune’s blows. Sapiens = ironic.

  Illudere = “to make sport of.”

  63. Mappa = a napkin.

  64–74. Balatro joins the fun and offers an ironic speech of encouragement that the boorish Nasidienus accepts at face value. It begins with a series of quasiphilosophic observations on the human condition and then applies them to the details of a dinner party, thereby revealing the essential triviality of the matter at hand. Suspendens omnia naso = “mocking all things.” Compare 1.6.5. There is also a pun on Nasidienus’s name.

  Eoque = “and on that account.”

  67–70. Tene … torquerier = an exclamatory question. Translate “to think that you are tortured” (Gildersleeve and Lodge 1895: §534). Torquerier = archaic deponent infinitive.

  Laute = “finely, elegantly.”

  Male conditum = “badly prepared.”

  Praecincti: see line 10 and 2.6.107.

  72. Agaso = “stable boy.”

  73–4. “Adverse circumstances allow a general to prove his mettle!”

  75–6. The ever-obtuse Nasidienus detects not a bit of sarcasm.

  77–8. The general consults with his staff. Divisos = “first on one side then the other.” Note the prominent “s” sounds that imitate the sound of the whispering.

  79–80. The return of Horace marks the end of the middle section of the dialogue and the start of the conclusion.

  80–5. Nasidienus rallies his troops and returns for a final onslaught. Ridetur = impersonal.

  “Fictis rerum is a Graecism for fictis rebus. The guests laugh at the avarice and folly of Nasidienus but pretend to have their mirth excited by other causes” (Anthon 1886).

  Nasidiene, redis: the use of apostrophe, or direct address of a character or abstraction, is reminiscent of epic style.

  85–93. He is followed by a new set of culinary extravagances. Mazonomo < mazonomus, –i: “a large dish.”

  Gruis < grus, –uis: “crane.”

  Pastum iecur = foie gras.

  Avulsos < avello, –ere, –vulsi, –vulsum: “tear away, separate.”

  Edit = archaic present subjunctive.

  Merulas < merula, –ae: “blackbird.”

  Palumbes < palumbes, –is: “ring dove.”

  Suavis res, si non causas narraret earum et / naturas dominus: this line sums up the whole problem with Nasidienus, it is less the food per se, although it is certainly extravagant by the standards of 2.6, than his and Nomentanus’s insistent discourse about it.

  93–5. The guests are revenged (ulti) by fleeing before tasting a bite. Canidia is often mentioned as a poisoner. See Satires 1.8 and Epodes 5 and 17.

  PERSIUS

  Prologus

  This is Persius’s classic statement of satire’s low vocation in anti-Callimachean terms [39]. On the one hand, the poem makes a great show of rejecting traditional literary tropes. On the other, there is hardly an element in it that cannot be derived directly from the earlier tradition. This is not incompetence but programmatic paradox. Persius deploys the whole tradition of Greco-Roman poetry in general, and satire in particular, to push, strain, and twist its devices to reveal the world of the unexpressed or even the inexpressible, beyond the banalities of contemporary Roman poetry [68]. This is part and parcel of his program of deliberate Stoic estrangement [69–70]. The choliambic meter recalls both the iambic tradition to which satire owes a direct debt [36–8, 49, 70] and Ennius and Lucilius’s use of iambic meters at the genre’s birth [42, 45].

  The poem falls neatly into two parts. Lines 1–7 present Persius’s rejection of traditional stories of poetic inspiration and initiation. They are spoken in the first person. Lines 8–14 are written in the third person and indict the shallow, materialistic motivations of Persius’s contemporaries.

  1–7. On the dream of poetic initiation in Hesiod, Callimachus, Ennius, and its parody in Horace, see 1.10.31–5.

  Fonte … caballino = a literal translation of the Greek Hippocrene the spring of inspiration on Mount Parnassus, home of the Muses, opened by the foot of Pegasus. Caballus is a low word for horse, see Horace 1.6.59, 103.

  Bicipiti = “twin-peaked.”

  Memini: the emphasis on personal memory is comic, as if the poet could have forgotten such an experience. He lampoons here a convention that by this point had become a dreary device in the poet’s repertoire.

  Repente = “suddenly.” Poetry is the product of a facile declaration of inspiration, not hard work and revision.

  Heliconidasque = “the daughters of Helicon,” a mountain in Boeotia sacred to Apollo and the Muses.

  Pirenen = Pirene, the name of a spring near Corinth where Bellerophon caught Pegasus. As several commentators note, students and poets are often referred to in the ancient sources as pallidus. Pallidamque Pirenen: would thus represent a transfer of epithet from effect to cause.

  Lambunt: a vivid metaphor for the snaking of the ivy tendrils (hederae) around the busts (imagines). Its grotesque quality is designed to inspire revulsion. It anticipates Persius’s use of images of oral gratification (both sexual and gustatory) later in the corpus. Ivy was a traditional symbol of Bacchus and of Dionysian inspiration. Poetic busts in libraries were frequently garlanded with ivy (Lee and Barr 1987).

  Semipaganus = “half a bumpkin,” the learned compound ironically undercuts the claim. Persius’s satire is his own (ipse, nostrum), not the product of specious inspiration and slavish adherence to convention, nor, as the second half of the poem makes clear, of material reward. See Freudenburg (2001: 146).

  Vatum < vatis, –is: the traditional Roman term for an inspired bard, as opposed to the Greek derived poeta. The word was a favorite of Horace’s and the Augustan poets in general.

  8–14. “Anyone who has ever tried to teach a parrot or a magpie to speak knows that the secret is to appeal to the belly. Poets are no different.” Expedivit < expedio, –ire, –ivi, –tum: the exact force of the verb here and of its distinction from docuit in the next line is unclear. It is probably best to follow Bo (1967) and translate “brings it about easily,” from the notion of removing an obstacle. Gildersleeve (1903) has a nice discussion of the notion of the Greek parrot (psittaco < psittacus) as being a better mimic than the native Italian magpie (picamque). This tallies well with Juvenal’s depiction of hungry Greeks in Rome as able to transform themselves into whatever is needed (3.73–80) and presumably represents a standard stereotype.

  ‘Chaere’: Greek for “vale.”

  Artifex sequi = artifex sequendi.

  Dolosi < dolosus, –a, –um: “crafty, deceitful, alluring.”

  Corvos: crows are, of course, not noted for the beauty of their song.

  Poetridas < poetris, –idos: “poetess,” a rare word and rare bird in Latin.

  Pegaseium nectar = the sweet song of the Hippocrene. The absurdity of the mixed metaphor (a horse producing nectar?), however, quickly undercuts the elevation of
the image.

  1

  Satire 1 is Persius’s programmatic poem outlining satire’s role in a corrupt society. Persius engages in a dialogue with an imaginary interlocutor that recalls Horace’s with Trebatius in 2.1 [27–8]. He begins by decrying the state of things in Rome and the interlocutor immediately tries to exercise some restraint on the satire’s savage attack. He asks “quis leget haec?” (“Who will read these?”) (line 2). The question is two edged. On the one hand, it asks: given the current state of literary taste, who would want to read something like this? On the other, it implies that the satirist should exercise caution. You never know who might read these, and such scathing criticism could be dangerous.

  Like Horace, Persius says he can’t help himself, but, unlike Horace, he does not have powerful friends upon whom he can rely. Rather he will dig a hole into which he can whisper his broadsides (line 119), though even that is not safe. Like Horace, Persius too will claim the precedent of Lucilius (lines 114–15), but unlike Horace, Persius’s attacks truly are savage. He mixes sexual, gastronomic, and grotesque bodily imagery in an unsettling melange that is designed to undermine the reader’s smug satisfaction.

  This poem is an exercise in Stoic self-observation and self-criticism as much as an attack on external vice [31, 67–9]. Every reader is forced to turn inward and ask whether they too wear asses’ ears, can they discern hard from soft, true from false, virtue from vice, real poetry from meretricious verse. Thus, as John Henderson observes,

  The poems of Persius reproduce in the mimetic form an absolutism in despite of civic power-relations as seen from the perspective of the Roman élite: their turn away from “Politics” toward policing the individual acts a scene of mastery, the fantasy ideology of an absolute control of Self as the boundary and teleology of human freedom.